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THE  PREPARATION  OF 

COURSE  PAPERS  IN  THE  FIELD 

OF  LITERATURE 


* 

LOUIS  WANN,  PH.D. 


Professor  of  English  Language  and  Literature 
University  of  Southern  California 


1922 
JESSE  RAY  MILLER 

UNIVERSITY   OF    SOUTHERN    CALIFORNIA   PRESS 
LOS  ANGELES 


COPYRIGHT,  1922,  JESSE  RAY  MILLER 


CONTENTS 

Introduction:    The  Purpose  of  the  Course  Paper 7 

I.     Determining  the  Subject 10 

II.     Preparing  the  Bibliography 11 

III.  Gathering  the  Material 15 

IV.  Constructing  the  Argument 20 

V.     Putting  the  Argument  on  Paper 22 

Appendix:    Selected  Bibliographies 37 

A.  Standard  Reference  Works 

B.  Works  on  Literary  Criticism 

and  Appreciation 

C.  Works  on  Composition  and  the 

Preparation  of  Manuscript 


5T  '  »  O   , 


PREFACE 

The  present  manual,  The  Preparation  of 
Course  Papers  in  the  Field  of  Literature,  has 
grown  out  of  a  long-cherished  desire  on  the  part 
of  the  writer  for  a  compact,  easily  accessible,  and 
inexpensive  presentation  of  the  whole  technique 
involved  in  the  preparation  of  course  papers  in 
the  general  field  of  literature.  With  no  such 
manual  to  which  the  student  may  be  referred, 
the  instructor  is  forced,  either  to  consume  valu- 
able time  from  the  course  in  giving  oral  instruc- 
tions, with  the  certainty  that  many  will  fail  to 
understand  these  instructions  completely,  or  to 
refer  the  student  to  one  or  more  manuals  of 
style,  which  may  be  difficult  of  access  in  a  suffi- 
cient number  of  copies,  or  prove  to  contain  either 
too  scanty  or  too  elaborate  a  treatment  of  the 
subject  to  be  adapted  readily  to  the  special  cir- 
cumstances involved  in  the  preparation  of  a 
course  paper.  It  is  hoped  that  the  present  man- 
ual will  contribute  materially  toward  economiz- 
ing the  time  and  energy  of  both  student  and  in- 
structor and  result  in  the  production  of  more 
effective  papers. 


6   THE  PREPARATION  OF  COURSE  PAPERS 

In  compiling  the  bibliographies  in  the  Appen- 
dix the  author  has  been  indebted  to  several  of  his 
colleagues  in  the  University  of  Southern  Cali- 
fornia for  their  cooperation  and  counsel. 

L.  W. 

Los  Angeles,  California, 
August  /,  1922. 


INTRODUCTION 
THE  PURPOSE  OF  THE  COURSE  PAPER 

The  general  purpose  of  a  course  paper  on  some 
aspect  of  literature,  such  as  that  which  commonly 
forms  a  part  of  the  requirements  for  the  satis- 
factory completion  of  a  college  course  in  any 
department  of  that  field,  such  as  English,  French, 
or  German,  may  be  described  as  two-fold. 

First  of  all,  the  preparation  of  the  paper 
serves  to  direct  the  special  attention  of  the 
writer  to  some  one  particular  author,  work, 
movement,  type,  or  phenomenon  which,  because 
of  the  very  nature  of  the  course,  may  be  treated 
only  incidentally  or  with  slight  emphasis  by  the 
instructor  or  lecturer.  In  thus  restricting  his 
attention,  the  individual  student  is  enabled  to 
get  a  more  complete  understanding  of  his  own 
subject,  to  realize  the  proper  relation  of  his  sub- 
ject to  the  whole  field,  and  to  develop  and  ex- 
hibit the  research  attitude,  which  is  simply  the 
honest  endeavor  to  discover  and  to  report  new 
truth.  The  writer  of  each  paper,  therefore,  is 
given  and  expected  to  use  the  opportunity  to 


8   THE  PREPARATION  OF  COURSE  PAPERS 

develop  that  true  scholarship  which  it  is  the  pri- 
mary function  of  all  education  to  develop. 

The  second,  and  incidental,  purpose  of  such  a 
paper  is  to  insure  the  instructor  or  lecturer  that, 
in  addition  to  the  more  general  information  or 
inspiration  derived  from  the  course,  the  student 
has  actually  observed  a  scholarly  attitude  in  his 
reading  and  thinking.  The  properly  completed 
course  paper  thus  presents  in  tangible  form,  not 
merely  the  evidence  of  a  scholarly  attitude,  but 
the  fruit  of  a  concrete  accomplishment  which  in- 
spires satisfaction  in  the  creator  of  any  new 
thing. 

The  first  essential,  then,  is  the  appreciation  of 
what  constitutes  scholarship  and  the  research  at- 
titude. This  attitude  is  by  no  means  confined 
to  those  properly  termed  "scholars."  It  is  simply 
the  honest  endeavor,  always  and  in  all  aspects 
of  life,  to  get  the  truth,  and  especially  to  discover 
new  truth.  The  result  of  this  attitude  may  be 
large  or  small.  It  may  be  merely  the  discovery 
of  the  actual  working  of  a  carburetor  or,  on  the 
other  hand,  so  revolutionary  an  invention  as  that 
of  wireless  telephony.  It  may  be  simply  the  com- 
plete appreciation  of  a  poem  or  the  discovery  of 
new  documents  radically  changing  our  concep- 
tion of  Shakespeare.  Though  producing  results 


IN  THE  FIELD  OF  LITERATURE  9 

of  varying  importance  and  persisted  in  with  dif- 
ferent degrees  of  consciousness,  the  underlying 
attitude  is  the  same.  It  is  not  expected  that  even 
one  of  every  hundred  average  students  shall  dis- 
cover something  really  new.  It  is  expected  that 
every  student  shall  be  on  the  lookout  for  some- 
thing new.  Even  though  the  apparently  new 
proves  to  have  been  discovered  before,  there  is 
for  the  student  the  same  joy  of  appreciation  or 
discovery  that  has  animated  all  of  his  predeces- 
sors. In  very  many  cases,  the  purpose  has  been 
served  if  the  student  has,  through  his  own  efforts, 
come  to  the  realization  of  a  truth  which,  without 
his  knowledge,  has  been  realized  by  others  be- 
fore him.  In  order,  however,  to  conserve  our 
time  and  energies,  it  is  obviously  desirable  that 
we  know  what  ground  has  been  covered  before 
and,  by  first  mastering  the  known,  be  enabled 
with  assurance  to  proceed  to  the  conquest  of  the 
unknown.  It  is  for  this  reason  chiefly  that  cer- 
tain more  or  less  clearly  marked  steps  have  come 
to  be  generally  agreed  upon  as  essential  to  the 
proper  preparation  of  a  paper  which  shall  ex- 
hibit the  research  attitude. 

These  steps  may  be  designated  as  follows:  1. 
Determining  the  subject,  2.  Preparing  the  bib- 
liography, 3.  Gathering  the  material,  4.  Con- 


10    THE  PREPARATION  OF  COURSE  PAPERS 

strutting  the  argument,    5.    Putting  the  argu- 
ment on  paper. 

I.     DETERMINING  THE  SUBJECT 

The  determination  of  the  exact  subject  which 
the  student  will  handle  does  not  often  rest  en- 
tirely with  the  student  himself.  Circumstances, 
such  as  the  presence  of  a  number  of  workers  in 
the  same  field,  time  and  space  limitations,  and 
so  forth,  may  make  the  assignment  of  a  specific 
subject  desirable.  It  is  obvious,  however,  that 
some  range  of  choice  will  enable  the  student  to 
select  that  subject  which,  by  inclination  or  train- 
ing, he  thinks  himself  best  fitted  to  handle.  In 
whatever  manner  the  subject  may  become  the 
property  of  the  student,  there  still  remains  the 
careful  analysis  of  the  scope  of  the  topic,  the 
manner  in  which  it  should  be  treated,  the  re- 
sults to  be  attained. 

Take,  for  illustration,  the  two  subjects: 
"Burns's  Attitude  toward  Religion"  and  "Clas- 
sical Mythology  in  Keats's  Poems."  It  is  appar- 
ent that  the  first  of  these  subjects  requires  the 
study  and  inclusion  of  more  biographical  ma- 
terial than  the  second.  It  is  also  apparent  that 
the  first  is  more  sociological  in  nature  and  the 


IN  THE  FIELD  OF  LITERATURE  11 

second  more  distinctly  literary.  Both  require 
reference  to  individual  poems  for  proof  of  asser- 
tions made.  Again,  the  one  presents  the  simple 
question,  "What  was  Burns's  attitude  toward 
religion?"  The  other  asks  several  questions: 
"To  what  extent  does  classical  mythology  appear 
in  the  poems  of  Keats?"  "What  use  does  he 
make  of  the  myths?"  "How  does  he  differ  from 
other  users  of  similar  material?"  and  so  forth. 
In  the  same  way,  "The  Critical  Method  of 
Sainte-Beuve"  and  "The  Short  Story  in  Spain" 
each  demands  its  peculiar  kind  of  treatment. 
The  former,  by  centering  attention  upon  one 
man,  demands  intensive  treatment  of  his  work. 
The  latter,  by  requiring,  not  only  some  prelimi- 
nary discussion  of  the  short  story  as  a  type,  but 
a  comprehensive  survey  of  the  development  of 
that  type  in  the  hands  of  many  writers,  calls  for 
a  wider  perspective  and  more  general  treatment. 
Much  time  may  be  saved  by  determining  exactly 
what  the  subject  implies.  The  trail  may  then 
be  followed  with  assurance. 

II.     PREPARING  THE  BIBLIOGRAPHY 

A  bibliography  is  a  list  of  books,  magazine  and 
newspaper  articles,  manuscripts,  or  similar  ma- 
terial which  the  student  may  consult  in  the  prep- 


12  THE  PREPARATION  OF  COURSE  PAPERS 

aration  of  his  paper.  Having  determined  the  ex- 
act nature  of  his  subject,  the  writer  should  pro- 
ceed to  compile  from  the  proper  sources  a  list  of 
all  such  documents  as  seem  to  promise  material 
on  his  subject.  Two  questions  are  at  once  asked 
at  this  point:  "Where  shall  I  find  my  bibliog- 
raphy?" and  "In  what  form  shall  I  make  my 
list?" 

The  answer  to  the  first  question  is,  Turn  first 
to  the  most  authoritative  general  works  of  refer- 
ence in  your  field,  those  which  themselves  con- 
tain both  general  and  special  bibliographies  that 
will  serve  as  a  foundation.  Although  the  best 
obtainable  general  reference  works  on  the  vari- 
ous literatures  differ  considerably  in  plan,  up-to- 
dateness,  and  authoritativeness,  the  list  given  in 
appendix  A  (page  37)  presents,  for  the  average 
student,  perhaps  the  most  serviceable  works  in 
the  more  common  departments  and  may  be  con- 
sidered as  standard.1 

Two  things  that  are  essential  to  a  good  refer- 
ence work  are  found  in  such  works  as  those  re- 
ferred to:  authoritative  treatment  of  the  subject 


!For  the  standard  reference  works  in  any  of  the  numerous  de- 
partments of  literature  not  represented  in  this  list,  the  student  should 
consult  his  instructor.  In  all  cases,  of  course,  the  counsel  of  the 
instructor  should  be  the  student's  specific  guide. 


IN  THE  FIELD  OF  LITERATURE  13 

and  adequate  bibliographical  help.  The  plan  of 
each  must  be  clearly  understood.  For  example, 
both  of  the  Cambridge  Histories  are  the  result  of 
the  cooperation  of  a  great  body  of  specialists 
throughout  the  world,  each  man  writing  one  or 
more  chapters  on  the  one  or  more  aspects  of  the 
literature  which  he  is  best  fitted  to  treat.  In 
general,  the  arrangement  is  chronological.  Both 
the  table  of  contents  and  the  index  of  each  vol- 
ume need  to  be  consulted  to  ensure  all  of  the 
material  being  located.  At  the  back  of  each  vol- 
ume will  be  found,  in  order,  the  bibliographies 
for  the  separate  chapters  in  that  volume.  In 
some  of  the  other  works  listed,  the  bibliographies 
will  be  found  at  the  ends  of  chapters,  instead  of 
being  assembled  at  the  back  of  the  book. 

When  you  have  compiled  your  list,  in  the  man- 
ner indicated  below,  from  whatever  bibliogra- 
phies in  these  works  offer  you  material,  you 
should  then,  for  the  sake  of  completeness,  sup- 
plement your  list  with  magazine  references  to  be 
found  in  such  indices  as  The  Reader  s  Guide  to 
Periodical  Literature  and  Poolers  Index,  with 
their  supplements.  The  magazine  articles  and 
reviews  thus  referred  to  will  give  you,  not  only 
material  wrhich  for  some  good  reason  was  omit- 
ted from  the  standard  bibliographies,  but  also 


14  THE  PREPARATION  OF  COURSE  PAPERS 

material  which  appeared  after  those  bibliogra- 
phies were  compiled.  For  example,  the  chapter  on 
Shelley  and  its  bibliography  in  The  Cambridge 
History  of  English  Literature  were  prepared  some 
years  ago.  But  the  centenary  of  Shelley's  death, 
coming  in  1922,  brought  out  a  number  of  val- 
uable criticisms  of  his  work  which  need  to  be 
included  in  an  up-to-date  bibliography  of 
Shelley. 

Through  these  two  general  avenues  of  ap- 
proach, the  standard  reference  work  and  the 
magazine  index,  an  adequate  bibliography  can 
in  the  great  majority  of  cases  be  obtained.. 

The  next  question  concerns  the  mechanical 
preparation  of  the  list  of  references.  The  most 
practicable  method  is  that  which  employs  the 
3x5  card.  Place  on  a  separate  card  the  following 
data  concerning  each  reference:  the  author's 
surname,  followed  by  his  initials  or  given  name ; 
the  title  of  the  book  (underscored)  or  article  (in 
quotation  marks)  ;  place  of  publication,  pub- 
lisher's name,  and  date  of  publication  (if  a 
book)  ;  or  the  name  of  the  periodical  (under- 
scored), volume  number  (or  date),  and  page  ref- 
erence (if  a  periodical).  The  following  exam- 
ples will  illustrate  various  types  of  reference: 


IN  THE  FIELD  OF  LITERATURE  15 

Wendell,  Barrett 

A  Literary  History  of  America  (1600-1900) 

New  York.    Chas.  Scribner's  Sons.     1900. 
More,  Paul  Elmer 

"The  Influence  of  Emerson" 

Shelburne  Essays,  First  Series }  pp.  71-84. 
Thompson,  J.  B. 

"The  Genesis  of  the  Rip  Van  Winkle  Legend" 

Harper's  Magazine,  Vol.  20,  1860. 
Guerard,  A.  L. 

"Dante  and  the  Renaissance" 

The  Rice  Institute  Pamphlet,  Vol.  VIII,  No.  2. 

When  all  of  the  available  items  have  thus  been 
listed,  arrange  the  cards  in  alphabetical  order  by 
authors  (or  editors),  and  the  bibliography  is 
ready  for  use. 

III.     GATHERING  THE   MATERIAL 

Your  bibliography  is  the  guide  to  the  possibly 
accessible  material  which  you  may  consult.  The 
next  step  is  to  get  access  to  your  books  and  mag- 
azine articles.  Taking  your  alphabetically  ar- 
ranged list  to  the  card  catalogue  of  the  college, 
public,  or  special  library,  mark  the  library  call 
number  on  each  card  whose  book  reference  that 
library  contains.  In  the  same  manner,  by  refer- 
ence to  the  library's  list  of  periodicals,  check  off 


16    THE  PREPARATION  OF  COURSE  PAPERS 

those  magazine  references  which  are  accessible  in 
that  library.  When  the  facilities  of  the  various 
libraries  open  to  the  student  have  thus  been  ex- 
actly determined,  it  is  then  time  to  consider,  by 
consultation  with  your  instructor,  whether  it  is 
advisable  or  necessary  to  secure  additional  ma- 
terial not  already  provided. 

You  now  know  what  material  you  have  to 
work  with.  The  next  step  is  the  taking  of  notes. 
System  in  note-taking  will  save  a  great  amount 
of  time  and  labor.  The  exact  method  may  differ, 
depending  somewhat  on  individual  preferences 
and  the  nature  of  the  work.  But  a  practicable 
method  for  the  average  student  is  the  following : 

Provide  yourself  with  a  quantity  of  sheets  of 
paper  of  uniform  size  (Sy2  x  11  or  preferably 
half  size).  With  a  book  or  article  before  you, 
write  the  author's  name  and  the  title  of  the  book 
and  volume  number  (or  title  of  article,  name 
of  periodical,  and  volume  number)  in  the  upper 
right-hand  corner  of  the  page,  so  that  your  notes, 
when  desirable,  may  be  kept,  by  authors,  in  the 
same  alphabetical  order  as  your  bibliography. 
As  you  read,  record  legibly  in  brief  digest  from 
the  ideas  that  seem  serviceable  or  quote  accu- 
rately passages  that  you  might  wish  to  use  in  the 
author's  own  words.  Save  time  by  making  use 


IN  THE  FIELD  OF  LITERATURE  17 

of  clear  abbreviations  for  frequently  recurring 
words  (as  "lit."  for  "literature,"  "Span."  for 
"Spanish").  In  every  case  place  opposite  the 
note,  in  the  left-hand  margin,  the  page  on  which 
the  idea  or  passage  was  found,  in  order  that  in 
the  future  you  may  refer  at  once  to  the  exact 
place  for  further  information  or  for  confirmation, 
and  in  order  that  you  may,  in  writing  your  paper, 
indicate  your  footnote  references  with  ease  and 
accuracy.  It  will  be  obvious  that,  in  order  to 
enable  you  later  to  rearrange  these  notes  in  out- 
line form,  you  must  avoid  placing  on  the  same 
page  two  notes  that  relate  to  separate  aspects  of 
the  main  subject.  If,  in  an  atricle  on  Words- 
worth, you  find  material  on  his  style,  his  philoso- 
phy, and  his  political  opinions,  you  will  keep  on 
separate  sheets  the  notes  on  these  respective  as- 
pects of  the  subject.  If  more  than  one  sheet  be 
needed  for  a  point,  simply  number  the  second 
sheet  and  clip  the  two  together.  When  you  have 
completed  your  notes  on  one  page,  place  a  brief 
indication  of  the  subject  of  those  notes  in  the 
upper  left-hand  corner  of  the  page,  for  use  in 
organizing  your  material  in  topical  form.  You 
may  modify  this  general  method  to  suit  the  cir- 
cumstances. If  you  wish  to  file  your  notes,  use 
cards  instead  of  paper.  But  whatever  the 


18    THE  PREPARATION  OF  COURSE  PAPERS 

method,  once  you  are  convinced  of  its  service- 
ability stick  to  it. 

Below  is  a  sample  of  note-taking  illustrating 
the  general  method  above  outlined,  making  use 
of  the  half-size  sheet: 


European  influence  Moore,  Olin  H. 

on  M.  T.  "Mark  Twain  and  Don  Quixote" 

Pub.  of  M.  L.  A.  of  A.,  XXXVII 

p.  324    Purpose  of  paper  to  trace  influence  of  Cervantes  on  M.  T. — 
particular  attention  to  Huckleberry  Finn  and  Tom  Sawyer. 

p.  325     M.  T.  not  so  original  as  most  Americans  have  thought — 
drew  much  inspiration  from  European  models. 

p.  325    M.  T.'s  liking  for  French,  Span,  and  Ital.  authors — Saint- 
Simon,  Casanova,  etc. 


Discretion  needs  to  be  exercised  in  your  read- 
ing. Not  all  material  is  of  equal  authoritative- 
ness.  A  merely  popular  article  cannot  usually 
be  relied  upon  to  the  same  degree  as  a  carefully 
prepared  book  or  chapter  by  a  recognized  scholar. 
Moreover,  some  material  is  in  much  more  con- 
densed form  and  thus  requires  more  careful  at- 
tention than  a  chatty,  informal  discussion.  For 
the  latter  type  of  writing  it  is  desirable  to  culti- 


IN  THE  FIELD  OF  LITERATURE  19 

vate  the  "gentle  art  of  skimming,"  which  is  by 
no  means  a  careless,  unseeing  manner  of  reading, 
but  an  alert  though  rapid  sensing  of  the  import- 
ance and  content  of  whole  sentences,  paragraphs, 
and  even  pages.  Still  further,  it  is  of  vital  im- 
portance not  to  let  yourself  be  sidetracked  into 
interesting  but  irrevelant  by-paths.  Keep  the 
main  purpose  of  your  paper  steadily  in  mind.  To 
paraphrase  the  oath  taken  by  the  witness  in 
court,  you  are  responsible  for  "the  subject,  the 
whole  subject,  and  nothing  but  the  subject." 

What  has  been  said  so  far  applies  only  to  that 
material  which  the  student  gets  from  others.  No 
paper  is  of  much  value  that  does  not,  in  addition 
to  showing  one's  knowledge  of  other  people's 
opinions  and  researches,  also  indicate  a  consider- 
able amount  of  individual  interpretation  and  re- 
action. The  proportionate  amount  of  original 
matter  expected  in  a  paper  will  of  course  depend 
upon  the  nature  of  the  topic,  the  type  of  course 
for  which  the  paper  is  written,  and  the  status  of 
the  student  in  that  course.  In  general,  the  more 
restricted  the  topic,  the  more  intensive  the  course, 
and  the  more  advanced  the  student,  the  greater 
is  the  amount  of  research  work  expected.  More- 
over, it  is  obvious  that  the  topic  "My  Favorite 
American  Poet"  by  its  very  implication  calls  for 


20    THE  PREPARATION  OF  COURSE  PAPERS 

a  preponderance  of  personal  opinion,  whereas 
"How  Vergil  Was  Regarded  by  his  Contempo- 
raries" calls  for  very  little,  in  spite  of  the  fact 
that  the  former  calls  for  less  investigation  than 
the  latter.  If  you  have  analyzed  your  subject 
properly  in  the  first  place,  you  wrill  know  how 
much  more  you  have  to  do  besides  reporting 
what  others  have  said  about  it.  Finally,  it  should 
always  be  kept  in  mind  that  in  the  field  of  liter- 
ature particularly  nothing  will  take  the  place  of 
first-hand,  intelligent,  appreciative  reading  of  the 
poems,  dramas,  novels,  essays  themselves,  with- 
out which  we  should  have  no  criticism  whatever. 
Having  recorded  the  results  of  your  own  study 
in  the  same  manner  as  you  have  taken  your  other 
notes,  you  now  have  before  you  in  easily  acces- 
sible form  and  capable  of  arrangement  in  any 
order  you  desire  a  complete  set  of  notes  to  form 
the  basis  of  your  paper. 

IV.     CONSTRUCTING  THE  ARGUMENT 

You  are  now  ready  to  "build"  your  paper,  to 
construct  your  argument  in  such  a  manner  that 
the  reader  may  proceed  naturally  and  inevitably 
to  your  conclusions.  A  famous  French  drama- 
tist, when  asked  if  he  had  yet  finished  a  new 
tragedy  upon  which  he  was  known  to  be  work- 


IN  THE  FIELD  OF  LITERATURE  21 

ing,  replied:  "Yes,  I  have  only  to  compose  the 
verses."  He  thus  illustrated  the  supreme  im- 
portance of  thinking  out  from  beginning  to  end 
the  structure  of  any  piece  of  literary  work  before 
any  writing  is  done. 

With  your  sheaf  of  notes  before  you,  glance 
through  them  to  see  what  fundamental  points 
seem  to  have  been  established,  what  divisions  the 
treatment  of  the  subject  seems  to  call  for.  Place 
together  all  those  notes  which  contribute  to  each 
of  a  few  main  aspects  of  the  subject.  You  will 
now  resort  to  the  outline  as  a  device  for  clarify- 
ing in  your  own  mind  the  organization  of  your 
material.  Suppose,  for  example,  that  you  are 
writing  a  paper  on  "The  Essays  of  Robert  Louis 
Stevenson"  for  an  elementary  course  in  The 
English  Essay.  On  sorting  over  your  notes  and 
distributing  them  into  separate  piles,  you  may 
find  that  you  have  the  following  main  divisions 
of  material  in  the  order  that  seems  to  promise 
the  most  logical  development  of  your  subject: 

I.  Biographical  data 

II.  Critical  essays 

III.  Philosophical  essays 

IV.  Personal  essays 

V.     Stevenson's  essay  style 
VI.     Stevenson's  message 
VII.     Stevenson's  place  as  an  essayist 


22    THE  PREPARATION  OF  COURSE  PAPERS 

Having  determined,  for  the  time  being,  that 
this  is  the  logical  order  of  treatment,  you  then 
proceed  to  enlarge  your  main  divisions  by  the 
inclusion  of  subordinate  headings,  represented  by 
the  detailed  notes  in  each  division.  When  all  of 
your  notes  have  found  their  place  in  your  out- 
line, you  may  then  subject  the  complete  outline 
to  a  final  scrutiny  to  take  care  of  duplication  of 
material,  wrong  order  of  emphasis,  and  so  forth, 
realizing  at  the  same  time  that  no  outline  is  per- 
manent. It  may  change  very  considerably  as 
you  write  and  as  you  realize  more  clearly  the 
meaning  of  your  material  in  the  actual  work  of 
composition.  The  outline  is  merely  the  safest 
insurance  against  waste  of  time  and  faulty  per- 
spective. "What  is  well  begun  is  half  done." 

V.     PUTTING  THE  ARGUMENT  ON   PAPER 

You  are  now  ready  for  the  final  step — putting 
on  paper  the  results  of  your  reading  and  study. 
To  many  this  seems  the  most  difficult  part  of  the 
process.  Yet  much  of  the  difficulty  is  imaginary 
and  may  be  overcome  by  the  realization  that 
you  do  not  have  to  think  of  the  whole  paper  at 
once.  It  is  the  visualization  of  that  mass  of 
notes  which  somehow  must  be  transformed  into 


IN  THE  FIELD  OF  LITERATURE  23 

that  complete  paper,  which  you  feel  has  not  even 
had  a  beginning,  that  causes  all  the  dread.  But 
if  you  have  made  a  fairly  logical  outline,  you 
may  forget  for  the  moment  all  the  rest.  It  may 
even  make  little  difference  with  which  part  you 
begin.  The  essential  thing  is,  for  the  time  being, 
to  handle  each  aspect  of  the  subject  with  com- 
plete attention  to  that  aspect.  The  joining  to- 
gether of  the  various  divisions  is  a  later  step. 

It  is  almost  impossible,  except  for  an  expert, 
to  write  an  adequate  paper  in  one  draft.  You 
should  always  write  out  your  complete  "rough 
draft"  with  little  or  no  thought  that  this  will  be 
adequate  as  a  "final  draft."  It  will  depend  upon 
your  experience  in  writing,  your  command  of 
English,  your  sense  of  proportion  as  to  how 
nearly  the  form  of  your  "rough  draft"  will  prove 
to  be  completely  acceptable  form  for  the  "final 
draft."  If  you  leave  liberal  spaces  between  the 
lines,  you  may  make  later  changes  more  easily. 
If  you  are  bothered  by  such  mechanical  matters 
as  spelling,  punctuation,  paragraphing,  and  so 
forth,  forget  them  for  the  time  and  put  all  of 
your  attention  to  getting  down  on  paper  the 
ideas  which  you  have  to  present.  When  the 
ideas  are  in  black  and  white,  in  complete  "rough 
draft,"  then  and  then  only  have  you  a  complete 


24    THE  PREPARATION  OF  COURSE  PAPERS 

basis  for  revision  into  final  form. 

With  the  "rough  draft"  before  you,  and  pref- 
erably in  a  fresh  state  of  mind  (after  the  lapse 
of,  say,  several  days),  read  through  your  paper 
to  see  whether,  in  general,  you  have  accom- 
plished your  purpose.  If  you  have  departed  from 
your  outline,  see  whether  you  can  justify  that 
departure.  Try  to  assume  the  point  of  view  of 
an  outsider,  one  who  knows  nothing  about  the 
subject.  Is  the  presentation  clear  and  convinc- 
ing? If  the  "rough  draft"  stands  this  general 
test,  you  are  ready  for  the  final  process,  revision 
into  the  "final  draft"  form. 

Now  go  over  your  "rough  draft"  for  mechan- 
ical errors,  for  the  improvement  of  sentence 
structure,  punctuation,  choice  of  words,  and  so 
forth.  See  that  your  paragraphs  are  units  of 
thought  and  that  they  are  neither  so  short  as 
to  be  choppy  or  so  long  as  to  be  obscure  and 
monotonous.  See  that  there  is  a  continuous  flow 
of  thought,  that  there  are  plenty  of  connective 
words  and  phrases  to  bridge  over  from  thought 
to  thought.  See  that  so  far  as  possible  your  style 
has  the  elements  of  interest,  clarity,  smoothness, 
and  emphasis  necessary  to  a  convincing  and  ap- 
pealing presentation.  When  your  paper  satisfies 
you,  not  only  as  to  its  ideas  but  as  to  its  form, 


IN  THE  FIELD  OF  LITERATURE  25 

you  are  prepared  for  the  actual  transference  of 
the  "rough  draft"  to  the  final  form  in  which  it 
is  to  be  handed  in  to  your  instructor. 

Now,  it  is  this  final  form  about  which  there  is 
apt  to  be  the  most  ignorance,  for  in  this  as  in 
most  aspects  of  even  our  everyday  life  there  are 
certain  established  conventions.  As  there  is  a 
right  and  a  wrong  way  to  dress  for  a  formal  din- 
ner, there  is  a  right  and  a  wrong  way  to  present 
the  results  of  a  literary  study.  The  established 
conventions  for  a  formal  paper  may  be  summar- 
ized as  follows : 

I.  Paper,  ink,  and  typewriter 

(a)  Use  good,  unruled  paper,  8^2  x  11  inches. 

(b)  Write  or  typewrite  on  only  one  side  of  the 
sheet. 

(c)  Use  only  black  or  dark  blue  ink  or  a  type- 
writer with   a   clean   ribbon.     Typewriting 
is  not  necessary,  but  legibility  and  neatness 
are  of  paramount  importance  in  either  case. 

II.  Margins  and  spacing 

(a)  Place  the  title  two  inches  from  the  top  of 
the  first  page;  do  not  underline   or  quote 
the  title;   leave   an  inch  between  the   title 
and  the  first  line  of  the  text. 

(b)  Leave  a  margin  of  an  inch  and  a  half  on 
the  left;  at  the  right  leave  enough  to  avoid 
the  appearance  of  crowding. 


26  THE  PREPARATION  OF  COURSE  PAPERS 

(c)  Leave  liberal  space  between  lines  of  hand- 
writing; do  not  crowd  either  handwriting 
or  typewriting  at  the  bottom  of  the  page. 

III.  Indentation 

(a)  Indent  one  inch  in   handwriting  from  the 
left-hand  margin  for  paragraphs;  in  type- 
writing, indent  at  least  three  spaces. 

(b)  Do  not  leave  any  lines  blank  except  when 
a  short  line  ends  a  paragraph. 

IV.  Quoting  verse  and  prose 

(a)  Indent  both  verse  and  prose  quotations  at 
least  an  inch  from  the  left-hand  margin. 

(b)  Put  double  quotation  marks  at  the  begin- 
ning and  end  of  each  passage  of  verse  or 
prose  quoted,   except  when  in  typewriting 
the  passage  is  single-spaced   (the  unquoted 
portions     of     the     paper     being     double- 
spaced).     In  the  latter  case  no  quotation 
marks  are  necessary. 

(c)  In  quoting  verse,  reproduce  with  exactness 
the  arrangement  of  the  lines  as  you  found 
them   in   print,   observing   all   indentations, 
punctuation,  italicizing,  and  so  forth. 

EXAMPLE:  A  good  illustration  of  Ben 
Johnson's  skill  in  writing  epitaphs  is  the 
following,  entitled  "An  Epitaph  on  Mas- 
ter Philip  Gray": 


IN  THE  FIELD  OF  LITERATURE  27 

"Reader,  stay; 

And  if  I  had  no  more  to  say 
But:    'Here  doth  lie,  till  the  last  day, 
All  that  is  left  of  PHILIP  GRAY/ 
It  might  thy  patience  richly  pay: 
For  if  such  men  as  he  could  die, 
What  surety  o'  life  have  thou  and  I?" 

(d)  Paragraph  each  speech  of  dialogue,  no  mat- 
ter how  short. 

(e)  In   reproducing   a   passage   from   a   drama, 
indicate  the  speaker  by  placing  his  name 
either  in  the   middle   of  the  page  without 
punctuation   or  at   the  left  of   his   speech, 
following  it  with  a  period,  colon,  or  dash. 
Put  stage  directions  in  italics   (that  is,  un- 
derlined)  and  enclose  in  brackets. 

(f)  In    quoting,    particularly    from    languages 
other  than  modern   English,  be  careful  to 
reproduce  all  such  diacritical,  punctuation, 
and  other  marks  as  the  following:    accents 
like  the  macron  (  —  ),  acute  ('),  grave  (  r   ), 
circumflex   (A,~,~),  dot   (*),  diaresis   ("), 
and  umlaut  ( "),  all  of  which  may  be  found 
above  a  letter;  accents  like  the  cedilla  (5.)> 
reversed   comma    ('),   and   dot    (.),   which 
may  be  found  below  the  letter;  the  apos- 
trophe, indicating  omission;  the  hyphen,  in- 
dicating compounds;  the  dash,  as  in  French 
to  indicate  change  of  interlocutor;  capital- 
ization of   all   nouns,   etc.,   as   in   German; 


28    THE  PREPARATION  OF  COURSE  PAPERS 

and  the  peculiar  use  of  the  interrogation 
and  exclamation  points,  the  first  member  of 
a  pair  being  inverted,  as  in  Spanish. 

V.    Italics  and  quotation  marks 

(a)  Italics   are  indicated  in  manuscript   (either 
handwritten  or  typewritten)  by  underlining 
the  words  that  in  printing  are  set  in  italic 
type.  Underline  all  titles  of  complete  works, 
such   as   books,   magazines,    dramas,   epics, 
novels.     This   is   necessary,   for  one  thing, 
to  distinguish  clearly  between  reference  to 
a  character,  like  Hamlet   (not  underlined) 
and  the  work  in  which  the  character   ap- 
pears, like  the  play  Hamlet. 

(b)  Use  quotation  marks  to  indicate  parts  of 
works,  such  as  an  individual  poem  in  a  col- 
lection, or  an  article  in  a  magazine,  or   a 
chapter  in  a  book. 

EXAMPLE:  "The  Coming  of  Arthur" 
is  the  first  poem  in  the  series  of  Idyls  of 
the  King. 

EXAMPLE:  Professor  F.  L.  Pattee 
treats  the  contribution  of  Poe  in  his  chap- 
ter on  "The  Short  Story"  in  The  Cam- 
bridge History  of  American  Literature. 

(c)  Underlining  may  also  be  used  sparingly  for 
emphasis. 

(d)  Use  double  quotation  marks  at  the  begin- 
ning and  end  of  every  quoted  word,  phrase, 
or  passage,  except  in  the  case  noted  in  IV 


IN  THE  FIELD  OF  LITERATURE  29 

(b)  above.     Use  single  quotation  marks  to 
indicate  a  quotation  within  a  quotation. 

VI.    Footnotes 

(a)  Three  reasons  may  be  cited  for  the  use  of 
reference  footnotes  in  a  course  paper.   First 
of  all,  justice  demands  that  when  you  are 
indebted  to  someone  else  for  an  important 
idea,  whether  you  quote  his  words  or  not, 
you   should   give   him   credit   for   the   idea. 
Second,  reference  to  an  authority  places  the 
responsibility  for  the  statement  where  it  be- 
longs; if  the  statement  should  prove  faulty, 
you  are  not  to  be  held  responsible  (unless 
you  had  means  for  ascertaining  its  falsity). 
Third,  footnotes  are  a  valuable  aid  to  the 
reader  who  may  want  to  turn  to  the  au- 
thority referred  to  or  to  the  exact  lines  of 
a  poem  from  which  you  have  quoted. 

(b)  Give  footnotes   for  every  important  asser- 
tion  or   idea   which   you   are   conscious   of 
having  derived  from  someone  else.     Many 
ideas    and    facts     are    common    property. 
These  do  not  need  footnotes;  they  would 
merely  clutter  up  the  page  to  no  end.     Use 
judgment  and  show  a  desire  to  give  credit 
where  it  is  due. 

(c)  Use  footnotes  in  every  case  where  you  quote 
the  actual  words  of  a  writer,  whether  you 
are  quoting  from  a  poem  or  from  a  criticism 
of  the  poem. 


30    THE  PREPARATION  OF  COURSE  PAPERS 

(d)  At   the    end    of   the    passage    in    question, 
whether  it  be  actually  quoted  or  not  and 
regardless  of  where  it  occurs  in  the  sentence 
or    paragraph,    place    an    arabic    numeral, 
somewhat   above   the  line.     Do   not   place 
such  symbols  in  the  margin  or  at  the  begin- 
ning of  the  passage  in  question. 

EXAMPLE:  Lanier's  little  poem  "Night 
and  Day"1  opens  with  these  lines,  at  once 
suggesting  the  play  of  Othello: 

"The  innocent,  sweet  Day  is  dead. 
Dark  Night  hath  slain  her  in  her  bed. 
O,  Moors  are  as  fierce  to  kill  as  to  wed ! 
— Put  out  the  light,  said  he."2 

(e)  At  the  bottom  of  the  page  and  separated 
from  the  text  of  the  paper  by  a  horizontal 
line,  repeat  the  symbol  or  symbols  on  that 
page  and  give  the  reference  or  explanation 
required.     Make  it  as  brief  as  is  consistent 
with    clarity    and    completeness,    using   the 
conventional   abbreviations   for  titles,   pub- 
lishers' names,  places,  and  all  words  neces- 
sary to  indicate  the  reference.     Frequently 
used   abbreviations    are:     vol.    Ill    (vols.); 
chap,  ii   (chaps.);  bk.   (bks.);  sec.   (sees.); 
art.    (arts.);   div.    (divs.);   no.    (nos.);   col. 
(cols.);  fig.  (figs.);  n.   (note;  plural:  nn.); 
p.  17  (pp.)j  PP-  8-15  (pages    8   to    15    in- 
clusive) ;  pp.  8f  (page    8    and    the    follow- 
ing page) ;  pp.  8ff  (page    8    and    the    fol- 


IN  THE  FIELD  OF  LITERATURE  31 

lowing  pages);  1.  5  (line  5;  plural:  11.); 
vs.  (vss.);  ed.  (eds.);  for  drama,  II,  ii, 
44  (act  two,  scene  two,  line  44) ;  ibid, 
(the  same  reference  as  that  immediately 
preceding) ;  op.  cit.  (work  cited) ;  loc.  cit. 
(place  cited);  cf.  (see  or  compare). 

EXAMPLES:      (The  first  two  footnotes 
are  those  indicated  in  (d)  above). 

1  Dated    "Montgomery,    Alabama, 
1866"  and  printed  in  The  Independ- 
ent, July,  1884. 

2  Poems    of    Sidney    Lanier,  new  ed., 
Scribner's,  1920,  p.  228. 

3  Camb.  Hist,   of  Eng.  Lit.,  vol.  Ill, 
pp.  25ff. 

4  Ibid.,  pp.  27f. 

5  Hamlet,  IV,  ii,  20-25. 

6  Shelley,  Ode  to  the  West   Wind,  11. 
20ff. 

7  Cf.    Morel-Fatio,    Bulletin    Hispan- 
ique,  II,  239. 

8  Loc.  cit.,  p.  240. 

VII.    Making  corrections  and  changes 

In  making  necessary  corrections  and  changes   in 
the  final  draft  observe  the  following  points: 

(a)  To  cancel  a  word  or  passage  draw  a  hori- 
zontal  line  through   the  words   to  be  can- 


32    THE  PREPARATION  OF  COURSE  PAPERS 

celed.  Do  not  enclose  such  words  in  paren- 
theses or  brackets.  Such  matter  within 
parentheses  would  be  properly  read  as  ex- 
planatory matter.  Such  matter  within 
brackets  would  be  properly  taken  as  an  ad- 
dition to  or  correction  of  an  imperfect  text 
or  an  incorrect  or  obscure  statement  of 
another.  The  following  sentences  illustrate 
the  proper  use  of  these  three  marks: 

He  was  not  considered  conoidorod  a  pre- 
cocious child. 

His  first  poem   (published  at  the  age  of 
fifteen)  was  nothing  remarkable. 

Poe   wrote   of   himself:     "Born   January, 
1811  [the  correct  date  is  1809]  .  .  ." 

(b)  To  insert  a  word  or  passage  place  a  caret 
(A)below  the  line  at  the  point  where  the 
insertion  is  to  be  made;  then  write  the  in- 
serted words  above  the  line,  thus: 

altogether 
I  do  not  see  that  this  criticism  is  just. 

A 

(c)  To  indicate  a  paragraph  indentation  where 
there   is   none,   place   the   mark    jf    imme- 
diately before  the  word  that  should  begin 
the    paragraph.      To    cancel    a    paragraph 
indentation,    write    in    a    similar     manner 
"No  fl." 


IN  THE  FIELD  OF  LITERATURE  33 

VIII.    The  title  page 

(a)  Use  one  entire  sheet  for  the  title  page. 

(b)  In  the  center  of  the  page,  liberally  spaced 
and   well   balanced,    place   the   appropriate 
information  according  to  the  following  gen- 
eral form: 


THE  FABLES  OF  LA  FONTAINE 


By  Pearl   Adams 


COURSE  PAPER  FOR 

FRENCH  34  (GENERAL  SURVEY) 

INSTRUCTOR:  PROFESSOR  ARMAND 


MAY  15,  1922 


34    THE  PREPARATION  OF  COURSE  PAPERS 

IX.    Bibliography 

On  a  separate  sheet  or  sheets  present  the  list  of 
those  books  and  articles  which  you  have  used  in 
the  preparation  of  your  paper.  Do  not,  except  for 
special  reasons,  include  those  items  which  may 
have  been  in  your  original  bibliography  but  were 
for  some  reason  not  consulted.  Your  final  bib- 
liography should  indicate  the  actual  extent  of  your 
reading.  There  is  no  perfectly  uniform  style  fol- 
lowed by  writers  for  the  citation  of  works.  But 
whatever  style  is  followed  is  consistently  followed. 
The  usual  form  is  as  follows: 

(a)  For  reference  to  a  book,  give  the  following 
items,  consistently  punctuated:    surname  of 
author,  editor,  or  compiler,  followed  by  in- 
itials or  given  name;  exact  title  of  book  (un- 
less too  lengthy)  underlined;  place  of  pub- 
lication;  name  of  publisher;   date   of  pub- 
lication. 

EXAMPLES: 

Mackaye,  Percy.  Poems  and  Plays. 
Two  volumes.  New  York.  The 
Macmillan  Co.  1910. 

Amicis,  Ed.  de.  Cuore.  Milano.  Fra- 
telli  Treves,  Editori.  1910. 

(b)  For  reference  to  a  magazine,  give  the  fol- 
lowing items,  consistently  punctuated:    sur- 
name of  writer,  followed  by  initials  or  given 
name;  title  of  article,  in  quotation  marks; 


IN  THE  FIELD  OF  LITERATURE  35 

name  of  periodical,  underlined;  volume  and 
page  (or  pages  inclusive) ;  month  and  year 
of  issue.  (Sometimes  either  the  volume  num- 
ber or  the  month  and  year  is  omitted). 

EXAMPLES: 

Scudder,  H.  E.  "William  Blake,  Painter 
and  Poet."  Scribner's  Mthly.  Mag., 
XX,  234  (June,  1880). 

Lansing,  R.  "The  Thirteenth  Century 
Legal  Attitude  Towards  Women  in 
Spain."  Pub.  of  the  Mod.  Lang. 
Assoc.  of  America,  XXXVI,  492-507. 

(c)  Use  brackets    to   include   interpolated   ma- 
terial, such  as  a  date  or  an  author's  name 
not  ascertainable  from  the  work  itself  but 
needed  for  complete  information. 

(d)  The  order  in  which  the  items  appear  will 
usually  be  alphabetical  by  authors,  some- 
times in  two  or  more  groups,  such  as  "Bio- 
graphical"    and     "Critical,"     or     "Primary 
Sources"  and  "Secondary  Sources."     Occa- 
sionally it  is  desirable  to  arrange  the  items 
in  chronological  order,  especially  in  listing 
the   writings    of  a   particular   author   or   in 
attempting    to    show    the    development    of 
some  literary  or  other  phenomenon. 


36    THE  PREPARATION  OF  COURSE  PAPERS 

X.    The  format  of  the  complete  paper 

The  usual  order  for  the  parts  of  the  complete 
paper  will  be: 

Cover  (if  desired) 

Title  page 

Table  of  contents  or  outline  (if  desired) 

Text  of  paper 

Bibliography 

Number  the  pages  in  arabic  numerals,  in  the  upper 
right-hand  corner.  Then  fasten  the  sheets  to- 
gether, left  flat,  with  detachable  clips  or  fasteners, 
never  with  pins,  string,  or  ribbon. 

XL    Miscellaneous 

For  more  detailed  directions  as  to  punctuation, 
capitalization,  spelling,  syllabification,  compounds, 
writing  numbers,  abbreviations,  and  so  forth,  see 
any  good  manual  of  style,  such  as  those  mentioned 
in  the  Appendix.  You  will  be  held  responsible  for 
an  accurate  command  of  the  language  in  which 
you  write. 


APPENDIX: 
SELECTED  BIBLIOGRAPHIES 

The  following  bibliographies  represent  care- 
fully selected  lists  of  works  in  the  three  classes 
called  for  by  one  preparing  a  course  paper  in  the 
field  of  literature :  A.  Standard  reference  works, 
containing  authoritative  information  on  the  sub- 
ject and  bibliographical  guidance;  B.  Works  on 
literary  criticism  and  appreciation;  C.  Works 
on  composition  and  the  technique  of  the  prepara- 
tion of  manuscript.  The  lists  are  designed  to 
give,  in  brief  compass,  adequate  direction  on  all 
aspects  of  the  subject  covered  by  this  manual. 

A.     STANDARD  REFERENCE  WORKS 
1.     GENERAL 

Kroeger,  Alice  B.  Guide  to  the  Study  and  Use  of  Refer- 
ence Books.  3rd  ed.,  revised.  Chicago.  American 
Library  Association.  1917.  (Useful  for  the  average 
student  in  directing  attention  to  standard  works  of 
reference,  such  as  encyclopedias,  dictionaries,  bio- 
graphical dictionaries,  phrase  books,  allusion  books, 
and  so  forth.) 


38    THE  PREPARATION  OF  COURSE  PAPERS 

2.    PARTICULAR  LITERATURES2 

English 

Ward,  A.  W.,  and  Waller,  A.  R.  (editors).  The  Cam- 
bridge History  of  English  Literature.  14  vols.  N.  Y. 
and  London.  G.  P.  Putnam's  Sons.  1907-17. 
(Complete;  scholarly;  up-to-date.) 

American 

Trent,  W.  P.,  Erskine,  John,  Sherman,  S.  P.,  and  Van 
Doren,  Carl  (editors).  The  Cambridge  History  of 
American  Literature.  N.  Y.  G.  P.  Putnam's  Sons. 
1917-21.  (Complete;  scholarly;  up-to-date.) 

French 

Lanson,  Gustave.  Histoire  de  la  litterature  jranqaise. 
12  ed.  rev.  Paris.  Hanchette  &  cie.  1912.  (Con- 
venient; fairly  compendious;  authoritative;  excellent 
bibliography.) 

Petit  de  Julleville,  Louis  (editor).  Histoire  de  la 
langue  et  de  la  litterature  jran$aises  des  origines  a 
IQOO.  8  vols.  Paris.  A.  Colin  &  cie.  1896-99. 
(Elaborate;  handsome.) 

Wright,  C.  H.  C.  History  of  French  Literature.  N.  Y 
Oxford  Univ.  Press  (Amer.  Branch).  1912.  (Copi- 
ous bibliographies.) 


2See  note  on  page  12. 


IN  THE  FIELD  OF  LITERATURE  39 

Spanish 

Fitzmaurice-Kelly,  James.  A  History  of  Spanish  Lit- 
erature. N.  Y.  D.  Appleton  and  Co.  1910.  (Also 
in  French  and  Spanish,  either  of  which  versions  is 
considered  superior  to  the  English  version.) 

Ford,  J.  D.  M.  Main  Currents  of  Spanish  Literature. 
N.  Y.  Henry  Holt  and  Co.  1919.  (Contains  a  chap- 
ter on  "High  Points  of  Spanish-American  Litera- 
ture.) 

Italian 

Gaspary,  Adolf.  The  History  of  Early  Italian  Litera- 
ture to  the  Death  of  Dante,  translated  from  the  Ger- 
man of  Adolf  Gaspary,  together  with  the  author's 
additions  to  the  Italian  translation  (1887)  and  with 
supplementary  bibliographical  notes  (1837-1899),  by 
Herman  Oelsner.  London.  G.  Bell  and  Sons.  1901. 
(Incomplete,  but  containing  excellent  bibliography; 
also  in  German  and  Italian.) 

D'  Ancona  and  Bacci's  Manuale  della  Letter atur a  Ital- 
iana.  S  vols.  and  Index.  2nd  ed.  Florence.  1906. 
(Text,  selections,  and  bibliographical  notes.) 

Garnett,  Richard.  History  of  Italian  Literature.  Lon- 
don. D.  Appleton  &  Co.  1898.  (Readable,  not  ex- 
haustive.) 

German 

Vogt,  F.  and  Koch,  M.  Geschicte  der  Deutschen  Lit- 
eratur.  2  vols.  Leipsic  and  Vienna.  Bibliograph- 
isches  Institut.  1904.  (Scholarly.) 


40    THE  PREPARATION  OF  COURSE  PAPERS 

Biese,  Alfred.  Deutsche  Literaturgeschichte.  3  vols. 
Munich.  Oscar  Beck.  1913.  (Readable.) 

Latin  and  Greek 

Husband,  R.  W.  "A  Working  Library  for  Students  of 
the  Classics."  Classical  Weekly,  VII,  58-64,  66-72, 
and  Supplement  to  Classical  Weekly,  IX,  49-52. 

Teuffel  and  Schwabe's  History  of  Roman  Literature, 
translated  by  G.  C.  W.  Warr.  2  vols.  London. 
G.  Bell  and  Sons.  1900.  (Best  treatment  of  the 
subject;  indispensable  for  sources  and  bibliography.) 

Fowler,  H.  N.  A  History  of  Roman  Literature.  N.  Y. 
and  London.  D.  Appleton  and  Co.  1909.  (Good 
brief  statement,  with  bibliography.) 

Mahaffy,  J.  P.  A  History  of  Classical  Greek  Litera- 
ture. 2  vols.  London  and  N.  Y.  The  Macmillan 
Co.  1895.  (One  of  the  older  standard  treatments.) 

Wright,  W.  C.  A  Short  History  of  Greek  Literature. 
N.  Y.,  etc.  American  Book  Co.  1907.  (Excellent 
survey  of  forms  of  literature;  good  bibliographies.) 

B.    WORKS  ON  LITERARY  CRITICISM  AND 
APPRECIATION 

Corson,  Hiram.  The  Aims  of  Literary  Study.  N.  Y. 
The  Macmillan  Co.  1905. 

Gayley,  C.  M.,  and  F.  N.  Scott.  An  Introduction  to  the 
Methods  and  Materials  of  Literary  Criticism,  etc. 
Boston.  Ginn  and  Co.  1899. 


IN  THE  FIELD  OF  LITERATURE  41 

Gayley,  C.  M.,  and  Kurtz,  B.  P.  Methods  and  Materials 
of  Literary  Criticism;  lyric,  epic  and  allied  forms  of 
poetry.  Boston,  etc.  Ginn  and  Co.  [1920]. 

(The  above  two  works  constitute  the  first  two  volumes 
of  a  series.  "A  third  volume,  approaching  completion, 
will  present  tragedy,  comedy  and  cognate  forms" — 
Preface  to  second  volume.) 

Manly,  J.  M.,  and  Rickert,  Edith.  The  Writing  of 
English.  2nd  ed.  N.  Y.  Henry  Holt  and  Co.  [1920]. 
(See  especially  Chapter  XXI,  on  "Criticism.") 

Moulton,  R.  G.  The  Modern  Study  of  Literature;  an 
introduction  to  literary  theory  and  interpretation. 
Chicago.  Univ.  of  Chicago  Press.  1915. 

Sheran,  W.  H.  A  Handbook  of  Literary  Criticism;  an 
analysis  of  literary  forms  in  prose  and  verse,  etc. 
N.  Y.  Hinds,  Noble  and  Eldredge.  [c.  1905.] 

Shuman,  E.  L.  How  to  Judge  a  Book;  a  handy  method 
of  criticism  for  the  general  reader.  Boston  and  N. 
Y.  The  Macmillan  Co.  1910. 

Winchester,  C.  T.  Some  Principles  of  Literary  Criticism. 
N.  Y.  The  Macmillan  Co.  1908. 

C.    WORKS  ON  COMPOSITION  AND  THE 
PREPARATION  OF  MANUSCRIPT 

Fulton,  M.  G.  Expository  Writing.  N.  Y.  The  Mac- 
millan Co.  1912. 

Ives,  George  B.  Text,  Type,  and  Style.  Boston.  At- 
lantic Monthly  Press.  1921. 


42  THE  PREPARATION  OF  COURSE  PAPERS 

Lathrop,  H.  B.  Freshman  Composition.  N.  Y.  The 
Century  Co.  1920.  (See  especially  Chapter  XIII, 
on  "The  Use  of  Authorities.") 

Manly,  J.  M.,  and  Rickert,  Edith.  The  Writing  of 
English.  2nd  ed.  N.  Y.  Henry  Holt  and  Co. 
[1920.]  (See  especially  Chapter  III,  on  "Use  of  the 
Library,"  Chapter  XXII,  on  "Research  Work,"  and 
Appendices  I  and  II,  on  "Good  Form  in  Writing" 
and  "Note-Taking.") 

Manual  of  Style.  Chicago.  Univ.  of  Chicago  Press.  5th 
ed.  1917. 

Pence,  R.  W.  A  Manual  of  the  Mechanics  of  Writing. 
N.  Y.  The  Macmillan  Co.  1921. 

Scott,  F.  N.,  and  Denney,  J.  V.  Paragraph-Writing. 
New  ed.  Boston  and  Chicago.  Allyn  and  Bacon. 
[1909.] 

Style  Book.  Washington,  D.  C.  Government  Printing 
Office.  1917. 

Summey,  George,  Jr.  Modern  Punctuation;  its  utilities 
and  conventions.  N.  Y.  Oxford  Univ.  Press  (Amer. 
Branch.)  1919. 

Woolley,  E.  C.  Handbook  of  Composition.  Rev.  ed. 
Boston,  etc.  D.  C.  Heath  and  Co.  [1920.] 


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